Stagecoach is the 1966 remake of the 1939 classic, starring Ann-Margret, Alex Cord, Bing Crosby, Stefanie Powers and others on their way to Cheyenne. The existing commercial album is a re-recording (not conducted by the composer), and was one of the all-time worst CD reissues. This CD is the first-ever release of the original film soundtrack as conducted by Jerry Goldsmith, a melodic and nostalgic take on the old West. The stereo sound is much superior to the re-recording, and the performance (chronologically sequenced) carries a vigor and buoyancy previously unknown to this score.

The Loner is a 1965 television western series written and produced by Rod Serling, starring Lloyd Bridges. Goldsmith composed the theme and two episode scores; the 20 minutes contained on this CD represents the totality of his contribution. The theme is a dynamic tune out of the Rio Conchos playbook, complete with harmonica, bass guitar, percussion and whipcracks, and the underscore is written in the style of the moody, solitary moments of Hour of the Gun, Bandolero! and 100 Rifles. The sound is clean mono; a unique, lost gem for fans of Goldsmith's westerns.

This inaugural disc in the Silver Age Classics series features liner notes by Jeff Bond, Jon Burlingame and Lukas Kendall, and a 16-page booklet illustrated with rare photos from the Fox Archives.

What to say about Jerry Goldsmith (1929-2004), the reason so many of us are soundtrack collectors in the first place? The Los Angeles native knew early on he wanted to write music for the movies, had an extensive training in television in the 1950s (starting at CBS), and went on to an unparalleled career in the movies—capable of brilliance in every genre, and beloved by his peers and fans. FSM has released as many of his scores as we could get our hands on, from classic TV work like The Man From U.N.C.L.E. to famous features (Patton) and obscure gems like The Illustrated Man and 100 Rifles...heck, make that all of them. Jerry, we love you and miss you! IMDB

"Stagecoach" was not my first purchase from FSM ("The Taking of Pelham One Two Three" was), but it was the first on the FSM label. And it was also my first LP purchase 30 years earlier when I began collecting soundtracks. I still have a fondness for that re-recording, and I don't believe it suffers much in comparison to the original tracks. In fact, I much prefer the song "Stagecoach To Cheyenne" as sung by The Bill Brown Singers as opposed to Wayne Newton.

This was my first western score by Goldsmith, picking up the old LP, when I was hoovering up anything that was available by him, after buying his STAR TREK - TMP and ALIEN LP's. It's probably still my favourite western score by him, due to that 'first love' thing, although I do prefer his Americana/Folk style western scoring (this, WILD ROVERS) over his more aggressive 'latin style' (BANDOLERO, RIO CONCHOS) anyway. I never knew the old LP was a re-recording, so hearing this CD was a bit of a shock at first. I actually find that the differences between the two recordings sound more akin to the same score being recorded from different sides of the room. There are details and emphasis on the FSM version that you don't catch on the Mainstream and vice-versa. I edited the two short saloon tracks out of the FSM issue, as they add nothing to my listening experience. Without them, the Goldsmith score runs just under 22 mins on the FSM, while the Mainstream is around 25. My abso' favourite bit is the opening of Aftermath, and that was because I first heard it in THE LAST HARD MEN (or was it THE CULPEPPER CATTLE COMPANY - both Goldsmith temp-tracked scores?), during a camp-fire hi-jinks scene where someone accidentally gets shot in the ear (I still can't listen to the cue without hearing "You Shot Him In The Ear" bouncing around my brain). I think LK is a bit harsh in the liner notes, regarding the Mainstream issue, calling it 'the worst recording in history' or somesuch. I find both recordings essential and find favour with various tracks from both. For the record, my favourite bit (see above) is much better on the Mainstream. Still, I guess I'm lucky to have both and the score, in either incarnation, brings back wonderful memories.

I, too, have both the FSM (OST) and Mainstream (album re-recording) releases, the latter being a purchase in the last year when it appeared cheap enough on Amazon. I'd had that recording for many years on cassette tape and always found the OST release less to my liking.

After 6 years and numerous plays of the OST ... I'm still in favour of the album re-recording. And whilst the Mainstream release is not good quality it is good enough to be quite enjoyable.

As for The Loner ... this is enjoyable - mostly - but I could do without the crass dialogue which really spoils it for me.

I guess I never noticed before (or just plain forgot uh-huh) but the gentle, wistful moments in this score, of which there are many, remind me so much of his equally beautiful/nostalgic moments in his FLIM-FLAM MAN score. Just so gorgeous to listen to. I've been playin' the shit outta both these CD's this past week (I have no idea what kicked it off - but I've been tearing through Goldsmith westerns like nobody's business since) and I definitely prefer the Mainstream CD for it's more spacious recording and less strident performance. The FSM release is fascinating (captain), with a more direct sound, but can be a bit harsh at times, at least to these ears. Like I've said, it rules that I have both. Anyway, carry on trading ;)